The James F. Baldwin and Barzellai N. Spahr House, Columbus, Ohio

The James F. Baldwin House, Columbus, OH. 1853

The Barzellai N. Spahr House, Columbus, OH. 1873.

Built 20 years apart and standing at opposite edges of the East Town Street Historic District, these two five bay plan houses make an interesting pair. The Baldwin house, above, is the earlier and more elaborate of the two. It features a brick façade with exceptional moldings over the windows that consist of a segmental arch, blind, with foliate carvings and panels under an engaged triangular pediment. The cornice has a heavy architrave molding with paired brackets separating windows under a run of dentils. These brackets are rather unique, since most of their surface is flat with a rope molding, and only toward the top of the bracket do they curve out into a very sharp s curve with a finial at the end. The porch might be a later addition; the ironwork balcony over the front door, on the other hand, looks original, and the door may have featured a balcony resting on brackets. Finally, we have the low monitor/cupola with much bolder brackets. But a unique feature here is that the square windows feature wooden, pierced cut outs that give the windows the appearance of having concave corners. I actually really like the paint scheme on this house. It's very similar to those I see in my article on paint schemes illustrated in a book of the period.

The Spahr house, built for a reverend, is 20 years later, but not drastically different. Unfortunately, this house has suffered from some remodeling in the 1920s, with a new porch and very odd windows (18 over 18!). It looks to me that what once might have been more elaborate hood moldings have been cut down to flat forms, something that was all the rage in the early 20th century, perhaps as a way of reducing ornament. But the house does retain its paneled cornice with double s scroll brackets.

A third house of note is at 124 S Washington Street, a little ways from E Town. It is currently the Replenish Spa Co-op. One of the few houses we have seen that has its original porch, the delicacy of the details sets it apart. The house is also five bays, but the central bay sticks out from the façade and has a gable. The windows have engaged pediment moldings with Eastlake designs, resting on sculptural brackets. The central window in the gable is rounded with an eared surround. The cornice type is fringed, as it features a very fine trefoil fringe running as the architrave underneath the rotated s scroll brackets. This fringe is repeated on the gothic arch gingerbread in the gable, surrounded by fine jigsaw work of stars and rinceaux. The porch repeats these same decorative features, a fringe, which looks more Moorish than Gothic below, which runs under the gable and atop the posts. The brackets here have francy rinceauz on the sides and are elongated. Although I do not know anything about the house, it is definitely a product of the late 1860s or early 1870s.

'Woodlawn' the Henry Howard Owings House, Columbia, MD

The Henry Howard Owings House, Columbia, MD. 1840 Photo: Wikimedia

Starting out life as an 18th century wooden farmhouse, the Owings house (he bought it in 1858), aka 'Woodlawn' was extensively remodeled in 1840 in the Italianate style, a rather early manifestation of it by the looks of the design. It follows the symmetrical plan, with a central gabled projecting bay. Like most of these earlier designs, the decoration is pretty sparse, consisting of a tight cornice with no entablature, featuring the early style beam brackets. An odd feature is that these beam brackets are attached to the moldings above the windows, and not typically just at the corners but in a full run. This provides an odd bit of shadow and movement on an otherwise simple house. The porch is similarly simple, with thin chamfered posts and diminutive cut out designs. It's finished in appropriate stucco, and the painting of the house is quite appropriate to the Davis and Downing principles that underline its planning. Unfortunately, once surrounded by woods, the house is now surrounding by parking lots! Talk about some unpleasant rezoning. At least they left the house, even though its context is gone.

195 N Manning St. Hillsdale, MI (ENDANGERED!)

195 N Manning St. Hillsdale, MI. 1860s

195 N Manning St. is a lovely little Italianate preserved both inside and out. Unfortunately, the house is currently threatened with demolition by Hillsdale College to provide yet more McMansions, robbing the town of a valuable piece of history and stealing a contributing historical property from the neighborhood. The house is apparently haunted in local lore; thus it's demolition would also deprive the town of a piece of local folklore.

The house is irregular in plan, but is tower-less, with a projecting pavilion, a recess, and a further recess. The windows are all segmental arched with brick drip moldings and keystones. The cornice broadly projects and is bracketless, while the porch is simple but elegant, with slender columns, segmental arches and charming little foliage rinceaux in the spandrels. Very few original porches like this survive in Hillsdale. A nice feature is the color scheme, which is an example of a highly appropriate color for the house's period.

The house is also well-preserved inside, a credit to the Delta Tau Delta fraternity that currently maintains the house. It has a beautiful curved staircase with designs reminiscent of the porch, thick moldings inside that extend at least three inches from the wall, Gothic panels, and all of its original woodwork intact. One odd feature is that the blocks at the corners of the door frame, which usually feature recessed bulls eyes, have convex bulls eyes, extending out from the blocks, an unusual design element. This house should certainly be saved, especially because Hillsdale is not particularly rich in such well preserved homes.

The John Hardy House, Newcomerstown, OH

The John Hardy House, Newcomerstown, OH. 1874 Photo: scottamus

The John Hardy house in Newcomerstown (quite the town name!), built in 1874 was lovingly restored after a fire that require much of the interior to be restored, but it nonetheless has all of its amazing details and grandeur thanks to its invested owners (who by the way seem to have a lot of plants). The house, although in a small town, would fit in in any urban community with its grand central tower plan. Executed in brick, the trim of the windows and door is stone, and the owners have appropriately painted the wooden trim to match and simulate the stone. Score one for historic paint schemes! The windows alternate in style; the main facade windows are segmental arched with pedimented hood moldings, while the windows on each distinctive feature (bay window and tower) are round headed with Venetian tracery. A similar variation between body and tower can be found in the cornices, with a regular paneled cornice and brackets (s-curve) on the body and a more high style dentil cornice on the tower. The top stage of the tower itself has impressive engaged pediments with a heavy paneled cornice and a cluster of three arched windows (a constant nod to Romanesque bell towers). Two of the features on this house are particularly impressive. First is the door surround, a very urban looking stone door with pilasters, entablature, and an engaged round pediment, similar to those we saw on the Hauck house in Cincinnati, although it is perhaps a little bit less ornamented. Second is the amazing lacy ironwork at the top of the tower. Though most Italianates with towers have, or had, some sort of finial on the tower, this house has a cascade of thin wrought iron in rococo rocailles and fantastic blossoms that make me think of some vine growing on the house. Not only is this uncommon, but it is extremely rare that it survived and allows us to view how people in the country could come up with designs that have whimsy and uniqueness.

The Worman-Apgar House, Frenchtown, NJ

The Worman-Apgar House, Frenchtown, NJ. 1869 Photos: Wikimedia

Moving on from Utica, the Worman-Apgar house in Frenchtown, NJ is an impressive and aggressively vertical irregular plan Italianate. The verticality is created by the narrowness of each of the facade planes. Although built in 1869, the house is far out of date, demonstrating the style of the 1850s and none of the complex carpentry associated with the late 60s and 70s. Nonetheless, it is a very high style example of the tradition of early Italianate designs. The house, finished in stucco scored to look like stone, is simple in its ornament. Large flat wall surfaces are pierced with round headed windows with thick moldings, and a flat architrave molding delineates the entablature. The thickness of the overhang is particularly notable as is the lack of brackets. The first floor flat head windows are without ornament. As on a lot of early-type designs, the fun is confined to interesting pieces of carpentry. Here, the curved tent-roof wooden awnings with fringes, the Juliette balcony over the door, and the simple, thin porch relieve the facade's solemnity. Also of interest is the slender wooden (flushboard) tower, which, at the top stage has a segmental arched window with a Henry Austin style eared molding. The cornice of the tower on all four facades has a pediment, a particularly elegant and vertical feature.

The house really does feel like an Austin design to me and it resembles, in its ornament, the Norton house. The front has a well preserved iron fence (see below). I think that the paint scheme for this house, although quite solemn, is very historically accurate in its attempt to suggest a stone construction.

The Charles Yates House, Utica, NY

The Charles Yates House, Utica, NY. 1863-7 Photo: mrsmecomber

Photo: Carol

The Charles Yates house was built in 1863 or 1867 for Charles Yates, a clothing merchant, on Genesee Street in Utica, by Azel Lathrop, a local architect. For me, it is a house I am particularly drawn to in the city, because of its historically appropriate paint scheme (which is endemic to Utica houses) and its combination of Italianate with a nascent Second-Empire mansard. The house, I think, veers more toward Italianate because, although the roof is raised enough to provide for dormers, it does not constitute a full story like a proper mansard. As seen in my last post on the Millar-Wheeler house, the home displays the penchant in Utica for fine carpentry and includes a bay window over the porch.

The house broadly follows the symmetrical plan, but suggests the pavilion plan of Fountain Elms by having the facade project on the flanking bays. The facade is painted to look like stucco, and the details are done in brown to simulate stonework. The flanking bays have simple round headed windows with drip moldings. The real fun of the house comes in the central bay, like the Millar-Wheeler house, which creates on an essentially horizontal form a vertical emphasis. The porch, with all the elaboration expected in Utica, has paneled columns and heavy brackets, and the five bay, bay window (with a brief mansard) echoes this ornament. The cornice, interestingly is broken in the center by a dormer window that sort of suggests a tower or cupola, with a heavy cornice and arched window. The dormers as well have full bracketed cornices that reflect the complexity of the main, paneled cornice.

The Knights of Columbus moved in in 1913, but left in 2006 after a fire. The building, although owned, seems abandoned but cared for. It's a fine house that deserves a good plan for reuse, particularly because it makes such a statement on Utica's main street.

'Fountain Elms' the James and Helen Williams House, Utica, NY

'Fountain Elms', Utica, NY. 1852 Photo: Wikimedia

Following Photos: mrsmecomber

'Fountain Elms' is a fine house on Utica's Genesee Street, a major thoroughfare. Built for Helen and James Williams in 1852 by architect William Woollett it is currently a museum space for the Munson Williams Proctor Art Institute. Because the Williams planned to make the house a museum space, the interiors (created in a much higher style than the house featured originally) and exterior are well preserved and feature an exceptional collection of mid-19th century furniture and artwork. As with the other houses of the 1850s I have been exploring, it is severe in its design, but it employs an uncommon plan, the pavilioned plan with two symmetrical projecting pavilions connecting a central entrance bay. The pavilion design seems to be reflected on the right side of the house as well, where two bays strongly project at the ends (pictured below).

Interesting features of the house include thick brownstone moldings around the windows, fine rafter brackets typical of early Italianates, and blind arches (even in the chimneys). The thickness of the moldings on the second floor round headed windows gives the house a top-heavy appearance because of the simplicity of the bracket and cornices on the first floor windows. The Palladian window in the center is uncommon, but particularly unique is the Palladian configuration of the door with detached side lights. The porch and balustrades are dignified and Renaissance-inspired. Finally, the color scheme of this house is particularly historical and well conceived. Here, the stucco is painted yellow, while the trim is all a uniform brown to simulate the brownstone of the moldings. This house allows us to consider the effect of using simple and historically correct colors for an Italianate house.

Photo: Mike Christoferson

The William H. Ross House, Seaford, DE

The William H. Ross House, Seaford, DE. 1859 Photos: Lee Cannon

 

The William H. Ross house is a truly monumental Italianate in the middle of nowhere; in southern Delaware near the Maryland border, the house is a sophisticated example of stucco Italianates associated with the 1850s in a rural setting. A southern sympathizer, like many in neighboring Maryland during the Civil War, Ross was a wealthy investor, governor, and slaveholder in Delaware. His house no doubt reflects his experience of the elaborate Italianates found in cities like Baltimore and Philadelphia. The house follows a side tower plan with some modifications. We would expect the front facade on the left to end with the tower, however, the architect added an extra gabled pavilion, which somewhat melds the house's side tower plan with the pavilion plan or irregular plan. The house, faced in brick, is full of arches. All the windows and shutters are arched as are the porch and main door. The monotony of arched windows, however, is broken by the variations in their deployment. On the left pavilion, we have paired broad tombstone windows, while the right pavilion has thin triple arched windows. On the tower, there are widely spaced tombstone windows, but only one window in the top stage that has Venetian tracery. Some of the windows have very simple drip moldings. The door is recessed in the base of the tower, which is uncommon in the side tower plan and resembles more the irregular plan. The door is a simple affair with a glass surround. The brackets as well are pretty simple. The simplicity of design and clean lines make this house a particularly lovely example, and the very appropriate paint job, which could have been pulled right from Downing, makes the house seem like a perfectly preserved example. The interior images are from HABS.

The Italianate Bracket

The bracket is perhaps the quintessential feature of Italianate architecture, so much so, that the style was sometimes referred to in 19th century publications as the 'bracketed style'. Even though many Italianate buildings do not include brackets, the majority of them are profusely bracketed. Brackets served the function of keeping the wide eaves level and prevent bowing in the cornice. Brackets could be made of metal but were most commonly made of wood. They also served a decorative function, giving rhythm and vertical thrust to a house. While the facades of many Italianates are subdued, the brackets often provide a relieving ornament and whimsy that differentiates the exuberance of Italianate from the sobriety of Greek Revival.

There is no set rhyme or reason for bracket design. Earlier on, the brackets were primarily constructed at the site of a house by carpenters who were inspired by published house plans and details. As time went on brackets could be ordered in bunches from catalogs in a variety of shapes based on carpenter precedents. Because they were so unique to each house, brackets have literally limitless scope for variation and design. Sometimes similarities in brackets in one region can inform us of the vernacular. Nonetheless, despite these variations, there are common traits to Italianate brackets that allow us to grasp a bit of what the design process was behind them.

The basis for the most common Italianate bracket is two types of curves, the s- and c- curves. These give the bracket its general tapering shape below the molding that forms the bracket cap.

The general shape is often enlivened with extra pieces of ornament:

Finials: These turned pieces are probably the most common form of ornament on a bracket. They can be added to a block at the end of the upper part of the bracket, below the foot of the bracket, or from a block attached at the center. The finials give an icicle like effect to a bracket.

Medallions: Medallions or bull's eyes are circular pieces of molding. They are often put at points in the design where the curve spirals. They similarly adorn a lot of contemporary furniture and interior woodwork.

Strapwork: The strapwork is a set of thin boards cut with a jigsaw in a decorative pattern and glued or nailed onto a surface to give it a shallowly projecting design. In brackets, strapwork usually outlines the shape of the bracket and forms spirals.

Incised Carving: Incised carving was made affordable by the invention of the router. It consists of shallow relief cuttings into the wood in a decorative pattern. Mostly associated with Eastlake design and furniture, incised carving adds relatively inexpensive ornament to a surface.

Acanthus Leaves: Acanthus leaves are an expensive feature for a bracket. They usually are not placed on the sides but on the front, projecting slightly and adding an extra touch of fanciness.

Other design elements consist of carved garlands, fluting (cutting parallel grooves in the front of a bracket), beading, and elaborate caubuchons (jewel shaped pieces of wood).

Bracket Shapes:

As I said, the c- and s-curve form the basis of the bracket shape. The drawing below shows a bracket that uses one of these curves.

The number of curves can be doubled or tripled by adding more s- or c-curves. Sometimes this involves rotating one of the curves horizontally or varying their size. As the 19th century moved on brackets became more and more complex in how they used curves. The Bidwell house gives us an example.

Both types of curves can be combined to form composite s- and c-scroll brackets as shown below. Of course, this combination can be done in a lot of ways.

Special brackets:

There are two types of bracket I think deserve special mention because they tend to occur in specific contexts. The rafter bracket, beam bracket, or block bracket is a very simple rectangular block of wood attached to the eave. This occurs primarily in Italianate homes of the 1830s to the 1850s, and is a mark of an early Italianate. They were designed to resemble the exposed rafters peeking out from the eave in their Italian models. The Starr house and the Apthorp house have these types of brackets.

The Rotated or horizontal s-curve bracket is a type which, though it can occur anywhere, is particularly associated with Anglo-Italianate architecture because its shape conforms closely with Renaissance and Classical precedents. It is usually tarted up with acanthus leaves, scrolls, and palmettes, and was based on publications that showed ancient entablatures. The Lippitt house and the Graham house are examples.

The angular bracket is an uncommon type. It employs no curves, and instead has angles that define it. These can be stepped or even just consist of a simple diagonal piece of wood supporting the roof. The Hall house has angular brackets.

Finally there is an interesting bit of ornament that can sometimes be found on brackets, piercing. This consists of open space or holes piercing the wood of the bracket, creating a lighter effect. The Fisher house has pierced brackets.

Painting:

The painting of brackets is a complex business given the profusion of decoration. The book Victorian Exterior Decoration suggests these historically appropriate possibilities. The brackets are usually painted the color of the house's trim. If they are relatively simple with few decorative details, they should probably just be painted solidly with the trim color without picking out details in the body color. Brackets with strapwork usually have the strapwork frame painted the trim color and the space inside the frame painted the body color. Incised designs are usually picked out in the trim color or perhaps a third accent color to emphasize their presence. If the house trim color is simulating stone, they should never have details picked out and be painted to appear like stonework.

Brackets are a fun feature of Italianate and one of the elements that draws people to these houses. Although my discussion is certainly not comprehensive, it tries to give a bit of vocabulary to this fascinatingly elusive element of design.

The Richard Alsop IV House, Middletown, CT

The Richard Alsop IV House, Middletown, CT, 1838-9 Wikimedia

The Richard Alsop IV house in Middletown is also on High Street and is perhaps unique in the US. This house is often classified as Greek Revival, as found in the book Greek Revival Architecture in America, but it is rather a transitional Greek Revival and Italianate house, as can be seen by its broad eave and brackets. It was designed by the firm of Platt and Benne of New Haven and was built by Barzillai Sage and Isaac Baldwin. The house was bought in 1948 by Wesleyan University from the Alsops; it is currently the Davison Art Center and houses period furniture and a display of prints. It bears some similarity to the nearly contemporary Starr house across the street. The house does not follow the traditional Italianate plan, but it is similar to the symmetrical plan. The central cube has three bays on the front and is flanked by three bayed lower wings with double height squared pillared Doric colonnades. This aspect is particularly Greek Revival in inspiration, as double height porches are not a feature of Italianate. A long cast iron porch runs across the front with a tent roof that is unusually topped by a balcony. The delicate porch features axes with bundles of arrows tied with ribbons on the supports, which are strong Neoclassical design elements. 

While the facade is stucco and extremely spare, befitting its very early date, the house has some unusual features. Wooden exterior lambrequins can be found on the first floor windows in the center. It's most unique feature is the painted frescoes on the exterior of the house, which seems to have no other parallels in the US. The frescoes express the entablature of the house with swags and paterae or bowls, another classical motif. On the first floor in the center, and on the centers of the side facades are painted trompe l'oeil frescoes of statue niches, a very fine classical touch that could have been as much an attempt to simulate a Greek house as an Italian Renaissance villa. The second floor on the wings contain trompe l'oeil murals of urns in niches. These are a fascinating example of the use of exterior murals to create rhythm and effect on an otherwise plain surface, and they admirably succeed in enlivening the house. The other colors of the house, pink for the background and cream for the trim are also historically appropriate. The rich mural scheme continues in the interiors, which are filled with beautiful designs that show mostly garden scenes or reproduce Pompeian style decoration. The following images highlight some of the details and show the plan of the house. The frescoes alone make this house a stunning example of transitional design; that they have been well preserved is a credit to Wesleyan.

Plans from HABS.

Some Interior views:

The Alsop house sits across the street from the Russell House, one of New England's best Greek Revival homes, which I thought I would include an image of just for fun.